OJ 15/16, [48] Handwritten letter from Hans and Hertha Weisse to Schenker, dated July 15, 1923

Weisse summarizes his recent travels in northern Italy and Switzerland, and inquires about progress on Der freie Satz, a work which he thinks will be an indispensable foundation for the analyses in Der Tonwille.

OJ 10/1, [86] Handwritten postcard from Dahms to Schenker, dated November 8, 1924

Dahms visited Germany for two weeks; invites the Schenkers to visit him in Venice.

OJ 10/1, [87] Handwritten letter from Dahms to Schenker, dated February 26, 1925

Dahms reports on the Vrieslanders' Italian travels; compares Hertzka unfavorably to Drei Masken Verlag; He plans to sue Hertzka; comments on Bekker and Korngold.

JOB 94-3, [10] Handwritten letter from Schenker to Hammer dated March 12, 1925

Wherever Hammer may travel, Schenker declares, he will never lose his Germanness. Schenker asserts the superiority post-WWI of the German nation over those of the west. -- He describes his own pianism: his "fingers are like musical brains." -- He gives an account of the dispute with Universal Edition and the outcome of negotiations with Drei Masken Verlag.

OJ 10/1, [89] Handwritten letter from Dahms to Schenker, undated [c. April 29, 1925]

Dahms has found a rental cottage in rural Pallanza, and invites the Schenkers to visit. — Hindenburg's election as German President has given a "jolt" to Europe and pleased Mussolini; it should produce shrewd politics, but he doubts whether Hindenburg will be able to lift Germany out of mediocrity.

OJ 6/7, [25] Handwritten letter from Schenker to Moriz Violin, dated October 25, 1925

In this wide-ranging letter, Schenker commiserates with Violin about the high cost of living, and his inability to raise his fees to keep up with it (in particular, he feels unable to ask the wealthy Hoboken to pay more than his other pupils). He reports on sales of a medallion bearing his image, and the imminent arrival of a mezzotint of his portrait, made by Viktor Hammer, of which his brother Moses Schenker has bought the original drawing. Vrieslander will write an essay about his work in Die Musik, accompanied by the portrait, and things are now going well with the corrections to Meisterwerk 1 and the writing of Meisterwerk 2.

Diary entry by Schenker for 3 April 1914

Diary entry by Schenker for 28 June 1914

Diary entry by Schenker for 31 March 1921

Diary entry by Schenker for 2 September 1923

Diary entry by Schenker for 29 May 1924

Diary entry by Schenker for 13 October 1924

Diary entry by Schenker for 13 November 1924

Diary entry by Schenker for 15 July 1926

Diary entry by Schenker for 22 May 1929

Diary entry by Schenker for 12 May 1933

Diary entry by Schenker for 16 May 1933